POWERING YOUR family time u plugged
It’s often said that there are no small parts. At First Tennessee, we believe that there
are no small dreams either. That’s why we offer a wide-range of financial services
designed to help your family enjoy more of the things that matter most. So whether
you’re looking for a convenient checking account or help with a home loan, our
friendly staff is always available to play a supporting role.

From our vantage point, the key to greatness
is having a PASSION for EXCELLENCE.
Whether it’s making great tires or beautiful
symphonic music…at Bridgestone Americas
we believe it’s all about the art of performance.
We’re building world-class tires in Tennessee
and investing in our communities. Working in
close harmony with our hometowns is a
performance that makes us all proud.
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REPRESENTATIONAL PHOTO

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hen we learned how sick Mom was, we didnâ&#x20AC;&#x2122;t know what

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We provide loving care to people with life-threatening illnesses, support to
their families, and service to the community in a spirit of enriching lives.

InConcert

FrOM Here tO
the Metropolitan Opera

A publicAtion of the nAshville symphony

Broadway
Carnegie Hall

Contributors

the Grand Ole Opry

ANYWHERE

JoNathaN Marx
editor
Becca hadzor
Graphic Designer

The Legend of Baby Doe
November 11-13, 7:30 p.m.
November 14, 2 p.m.
Troutt Theatre
An American opera based on a real-life story
of a self-made man, love, honor and politics.
Set against the boom times in Colorado in the
1880s when silver was king.

Christmas at B elmont
December 22, 8 p.m.
December 24, 7 p.m.
Check local listings for additional air times
Enjoy the nationwide PBS rebroadcast of the
2009 Christmas at Belmont performance hosted
by Belmont Alumna Trisha Yearwood in the
Schermerhorn Symphony Center.

Sheraton Nashville Downtown
Come in before the show for a romantic dinner offer for two including wine for
$39.95. Then, stop by after tonight’s performance with your ticket stub for one
free dessert. 623 Union Street Reservations: 615-259-2000. www.sheraton.com/
nashvilledowntown

Sole Mio
Moved our restaurant from Italy to downtown Nashville over 16 years ago.
Bringing fresh pasta and homemade specialties to all who pass through our doors.
Reservations accepted 615-256-4013. Tue-Sun lunch and dinner. 311 3rd Ave. S.
One block South of the Schermerhorn. www. SoleMioNash.com

Joy has a heritage. It is deeply rooted in a respect for what’s come before and a determination to
carry that legacy into the future. This is Joy’s time-honored family tradition — to continue improving
even when it seems there’s nothing left to improve. Case in point, the new BMW 3 Series Coupe.
Its unparalleled performance proves its prowess while its sleekly designed exterior passes the baton,
ensuring that the Joy of driving is experienced for generations and generations to come. The story
of Joy continues at bmwusa.com.

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Every November, each of us takes time to give thanks, and this year in
particular I know that many of us will take some extra time to reflect on the
many, many reasons we have to be thankful. Most especially that we live in the
Volunteer State, a community of caring, resourceful and resilient people. As the
reopening of Schermerhorn Symphony Center on New Year’s Eve nears, we at
the Nashville Symphony are deeply grateful for the outpouring of support we
have received. We look to our future with increased confidence because of the
tremendous generosity of our patrons.
This is also the time of year when people think about their year-end

We at the Nashville
Symphony are deeply
grateful for the
outpouring of support
we have received. We
look to our future with
increased confidence
because of the
tremendous generosity
of our patrons.

giving, and if you haven’t already, I hope you will include the Nashville
Symphony in your own plans for charitable giving. This year, your support
is needed more than ever as we work to ensure that we will be able to cover
the $40 million in losses we sustained in the May flood. At the same time,
we remain fully committed to serving the community with great music and
barrier-free education programs. Your support brings some of the world’s
greatest performers to Schermerhorn Symphony Center, funds exciting
new commissioning and recording projects, shares music with the entire
Middle Tennessee region through our free community concerts, and reaches
underserved children through our forward-thinking music-education initiative
One Note, One Neighborhood.
Next month we are going to have one BIG New Year’s Eve celebration
here at the Schermerhorn! Itzhak Perlman will join Giancarlo Guerrero
and the orchestra to re-open the hall on December 31, complete with a
champagne toast to the New Year. Our regular concert schedule will resume
at the Schermerhorn in January, and I hope you’ll join us for one of the many
fantastic concerts we have planned.
Again, we are honored to have you with us this evening and sincerely
appreciate your support of our work.

The arts nourish our
hearts and imaginations.
For that reason and many more,
weâ&#x20AC;&#x2122;re proud to support the
arts in Nashville.

neWs From the nashVille sYmphonY

HighNotes

Now is the perfect time to plan a
group outing with the Nashville Symphony
If you’re looking for a fun way to entertain your friends, family, colleagues,
Bring your group
students, church or any other gathering, the Nashville Symphony has the answer:
of 10 or more to
Bring your group of 10 or more to hear a concert featuring our GRAMMY®hear a concert
winning orchestra! Discounted group rates are available for most concerts.
featuring our
Make your holiday celebration extra-special this year with a trip to hear
GRAMMY®the Nashville Symphony at Home for the Holidays with Martina McBride on
December 10, or to hear the orchestra and chorus perform Handel’s inspiring
winning orchestra!
Messiah on December 16-18.
Schermerhorn Symphony Center will reopen to the public on December 31, and we’ve got a long list
of great concerts scheduled at our newly restored concert hall! Upcoming highlights include Beethoven’s
Fourth Symphony and Mozart’s Piano Concerto No. 22 on January 6-8; Peter Cetera on January 13-15;
Sibelius’ Violin Concerto on January 20-22; Holst’s The Planets on February 17-19; Leonard Slatkin
conducting a new violin concerto by Philip Glass on March 10-12; and much, much more! You can
make your visit to the Schermerhorn even more special by scheduling a tour of the building.
For more information, contact Group Sales Specialist Meredith Benning at 615.687.6537 or
mbenning@nashvillesymphony.org.

Get started on your holiday
shopping with Symphomoney
When November rolls around, that means it’s time to start thinking about your holiday shopping,
and we’ve got the perfect gift for any music lover on your list: “Symphomoney.” Available for $55 each,
these vouchers can be redeemed for a seat at many of the concerts in the Nashville Symphony’s 2010/11
season. Symphomoney works like a gift certificate, only with even better value, because each voucher
can be traded in for the best seats available in the house at the time of redemption. That means the
initial purchase price of $55 could be worth as much as a $125 ticket.
Symphomoney can be used on offerings in the Nashville Symphony’s SunTrust Classical Series,
Bank of America Pops Series and Adams and Reese Jazz Series, along with a number of special events.
(Some exclusions apply.) And if it isn’t redeemed during the 2010/11 season, Symphomoney can still
be used as a $55 credit toward the purchase of a full-price ticket for Nashville Symphony events taking
place after July 2011.
For more information, visit NashvilleSymphony.org or call 615.687.6400. Please note that
Symphomoney requires a minimum purchase of three vouchers, and that orders placed after December
15 may not be received by Christmas Day.

10

InConcert

N ov e m be r

2010

neWs From the nashVille sYmphonY

HighNotes

NSO cellist Michael Samis receives
Kelingos Education Fund award
We’re pleased to announce that Nashville
Symphony cellist Michael Samis is the latest
orchestra musician to receive an award from
the John Kelingos Education Fund. Since 2004,
the Kelingos Fund has annually provided grants
to members of the Nashville Symphony for
the purpose of pursuing advanced study with
teachers or colleagues from across the country.
Samis used his award to help defray the cost
of traveling to New York to study with Jerry
Grossman, principal cellist of the Metropolitan
Opera Orchestra, and with Jerry Kagan, the
Met’s retired associate principal cellist. This is his
second time to receive a grant from the Kelingos
Education Fund — in 2007, he used his award to
study with Desmond Hoebig, who was at the time
principal cellist of the Cleveland Orchestra.
“Spending this summer learning this
extremely difficult opera music and receiving
feedback from these two world-class Met
principals turned out to be one of the longest
strides I’ve yet taken in my path of artistic
development,” says Samis. “The Kelingos
scholarship makes it possible for us as symphony
players to keep our edge.”
The Kelingos Education Fund was created
by Ann Woodmore in memory of her friend and
companion, John A. Kelingos, a violinist with
the Nashville Symphony for 26 seasons and a
mathematics professor at Vanderbilt University.
For more information about the fund, contact
Holly Noble, Special Campaigns Coordinator, at
615.687.6529 or hnoble@nashvillesymphony.org.

miChael samis

“Spending this
summer learning this
extremely difficult
opera music and
receiving feedback
from these two worldclass Met principals
turned out to be one
of the longest strides
I’ve yet taken in
my path of artistic
development.”

November

2010

InConcert

11

neWs From the nashVille sYmphonY

HighNotes

Add a touch of elegance
to your next corporate meeting —
host it at the Schermerhorn!
Schermerhorn Symphony Center has earned a reputation as one of the finest concert halls
in the world, but did you know that it’s also one of the city’s premier destinations for corporate
events? With 11 different venues and meeting rooms located throughout the building, the
Schermerhorn can easily accommodate a gathering of any size, and our food, beverage and events
staff will do all the work to help you plan and execute a first-rate gathering.
If you’re planning a corporate or nonprofit board meeting for 2011, now is the perfect time to
reserve the Schermerhorn’s Board Room, which features a custom conference table, Italian leather
chairs and audio-visual capabilities, including phone conferencing. Our catering kitchen can an
extra touch of elegance with top-notch food and beverage service, or you can turn your company’s
gathering into a exciting cultural experience by scheduling your meeting on a concert night at the
Schermerhorn!
“It’s rewarding to see a corporate event come to fruition here,” says Catering & Events
Manager Bruce Pittman. “When corporate planners host an event in our building for the first
time, they’re quite pleased to encounter such a detailed-orientated staff dedicated to the success of
their event.”
To find out more about planning a corporate event at the Schermerhorn, contact Bruce
Pittman at 615.687.6613 or bpittman@nashvillesymphony.org, or contact Events Coordinator Lori
Scholl at 615.495.5128 or lscholl@nashvillesymphony.org.

sChermerhorn sYmphonY Center board room
12

InConcert

Nov e m be r

2010

2010/11 SEASON-At-A-GlANcE
SunTruST ClaSSiCal SerieS

november 4-6
november 18-20
december 2-4
January 6-8
January 20-22
February 17-19
March 10-12
March 24-26
april 7-9
april 21-23
May 12-14
June 2-4

Meet Melinda Whitley
Viola, Nashville Symphony
Hometown: Louisville, Ky.
Member of the Nashville Symphony since: 1999
Are there any pieces you’ve been especially looking forward
to performing this season? Hindemith is one of my favorite
composers, and his Symphonic Metamorphoses is one of my favorite
pieces. It’s just challenging enough, and it doesn’t get played very often.
Playing it at our seasoning-opening concert in September brought back
memories from the first time I played it.
reBecca J willie

The Nashville Symphony will be returning to Schermerhorn
Symphony Center at the end of the year. What makes you
I remember sitting in
most excited about returning? Just having the team all together
rehearsal thinking,
again. When the orchestra’s at the Schermerhorn, and we’re all at our
“I've got to do this!”
backstage lockers, we get that team mentality, which really does help
the way that we play. I miss that. I’m also really looking forward to the
natural light in the concert hall. It’s one of those joyful places where you want to make music.
What is your earliest musical memory? I started out dancing ballet when I was a little kid, and I
always loved the music. That’s what got me into playing the viola. One of my earliest symphonic memories
was when I was in eighth or ninth grade. We had a really big youth orchestra system in Louisville, and the
first year I was in the big symphony with the older kids, we did Beethoven’s Sixth Symphony [which the
Nashville Symphony is performing this month]. I remember sitting in rehearsal thinking, “I’ve got to do this!”
What do you like to do when you’re not performing with the orchestra? My golden retriever,
Chloe, is a therapy dog, and I am the liaison for the local affiliate of the Delta Society, a pet therapy group.
I coordinate about 32 dog therapy teams, who visit patients at the various facilities at Vanderbilt University
Medical Center, plus I visit Monroe Carell Jr. Children’s Hospital at Vanderbilt with Chloe. It’s all volunteer
work, and it’s very rewarding to be able to share an animal that has a special gift for interacting with kids.
We go into difficult situations sometimes with patients who are in pain or undergoing serious treatment, but
I always come out feeling as though I’ve received more than I’ve given.
Earlier in your career, you toured as a musician in Mexico and South America. Do you have
any memorable stories to share? I was touring with the Aguavá New Music Studio. My parents were
terrified, because we were traveling to Bogotá and Medellín, and there was a civil war going on in Colombia.
After we arrived, the airport in Bogotá got bombed. One night, we were dining in the hotel restaurant, and
we noticed that there was this red dot shining on our table. The management came along and told us to
move, because it turned out that there was a sniper across the street, and he was aiming into the hotel. Later,
when we were in Mexico City, our bus broke down in the middle of a five-way intersection. Our bus driver
got off the bus and left, and we weren’t even sure where he went. At the time, I had been invited to audition
for the Boston Symphony, and I was sitting there thinking, “I’ve got to get back to the hotel and practice!”
So finally I got up, and I said to everyone on the bus, “I’m playing my audition list for you guys.” As a way to
prepare for an audition, that’s about as unusual as it gets!
November

2010

InConcert

15

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Did you know you can sign up for Green Power Switch for as little as $4 a month? And believe it or not,
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t h a n K Yo u t o o u r s p o n s o r s

InTune

Infiniti, a committed proponent of the
Nashville Symphony, will serve as
the orchestra’s official vehicle sponsor for the
fourth consecutive year in 2010/2011. It is with
great pride that Infiniti and its local dealership,
Alexander Infiniti of Cool Springs, announce our
continued partnership with the Nashville Symphony.
As part of its extended relationship with the
Nashville Symphony, Infiniti will help bring muchneeded educational experiences to local children in the Nashville community through support of the
One Note, One Neighborhood music education program. This program, organized by the Nashville
Symphony in partnership with Metro Nashville Public Schools and the W.O. Smith/Nashville
Community Music School, provides comprehensive music education resources to children and
teachers in Nashville’s Stratford and Pearl-Cohn school clusters.
Infiniti is headquartered in Franklin, Tennessee, and offers a full line of luxury performance
automobiles, including the G Coupe, Sedan and Convertible; M Sedan, EX and FX crossovers; and the
QX full-size SUV. More information about Infiniti and its Total Ownership Experience® can be found at
www.InfinitiUSA.com.

OVERBROOK SCHOOL
Bringing out the best performance in every child on the stage & in the classroom

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InTune

Metropolitan Nashville Arts commission

the Metro Nashville Arts commission enriches the Nashville
community by providing leadership that stimulates and advances the arts. MNAC
serves arts organizations, individual artists and the general public through a sizable city grants
program and through Metro Government's public art program. In addition, the agency facilitates
workshops and forums focusing on arts-related issues; conducts research; and produces online
publications such as The Arts Directory, Artist Registry, Metro Arts Alert!, Art in Public Places
and ArtLinks.
MNAC's 2011 Creation Grant program will fund the Nashville Symphony's commission of a
new work by local composer Conni Ellisor titled Diaspora. World premiere performances will be a
part of the orchestra's SunTrust Classical Series performances on February 17, 18 and 19, 2011.
Contact the Metro Nashville Arts Commission at www.artsnashville.org for information on
arts forums, workshops and public meetings; to see the Artist Registry; and arts research.

To learn more visit us at MyPaperFREEOffice.com
or give us a call at (615) 255-8551

t h a n K Yo u t o o u r F u n d e r s

InTune
Support the arts: Bolt them to your car!
You’ve seen them around town — those eye-catching license plates decorated
with a saxophone-playing cat, a grinning fish and a colorful rainbow. But did you
know they help a worthy cause? Sales of these specialty license plates provide more
than two-thirds of the funding for the Tennessee Arts Commission’s grants programs.
So if you love the arts, invest in one of these license plates. Arts organizations
that receive Tennessee Arts Commission grants are much better equipped to
serve their communities and improve the quality of life for people of all ages and
backgrounds.
When you purchase one of these specialty license plates, you are:
• Providing the primary source of funding for the Tennessee Arts
Commission’s grant programs
• Funding projects in communities both large and small, urban and rural
• Enhancing education and appreciation of the arts
• Building Tennessee’s next generation of artists and art students
• Generating tax dollars for the state
• Helping to train a qualified workforce
• Leveraging private dollars for local arts activities
If you’d like to order a specialty license plate, you can visit your local County Clerk’s Office, or you
can order one online at www.tennessee.gov/revenue/vehicle/licenseplates/specialty.htm.
The Nashville Symphony thanks you for your support of the arts! Arts organizations can’t succeed in
their missions without funds from local, state and national government agencies.

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Songs of Solitude
Prologue (A meditation in Time of War)
blood and the moon
Drinking Song
These Are the Clouds
The Second Coming
epilogue (vacillation)
Thomas Hampson, baritone

intermission
IGor STrAvINSKY

Le Sacre du printemps [The rite of Spring]
Part I: The Adoration of the earth
Part II: The Sacrifice

media partner:

with support from:

The Official Vehicle of the Nashville Symphony:

The Official Airline of the Nashville Symphony:

November

2010

InConcert

25

richard daNielpour
born on January 28, 1956, in New York City, where he currently resides
For Richard Danielpour, the greatest composers in the classical tradition
are those who, like Mozart and Bach, are able to transcend the ego, and whose
creative process involves more than mere self-expression. In an interview with
Ann McCutchan, Danielpour declared that such music “is serious in every way
but doesn’t take itself too seriously.” He likes to remind his composition students
not to take themselves too seriously or become obsessed only with “beautifully
richard danielpoUr
sculpted, perfect ideas.”
The major blind spot of many “serious” composers of the avant-garde in the postwar decades,
according to Danielpour, is that they were too closely invested in the image of the suffering artist
and had “lost the vocabulary for joy, and for tenderness and playfulness.” He points to Stravinsky, in
contrast, as a composer who never let go of his capacity for playful discovery. A crucial step in the
evolution of Danielpour’s own voice was his recognition of spontaneity and “an inherent sense of play”
as essential for making music.
Born to parents of Persian-Jewish heritage, Danielpour grew up in southern Florida and taught
himself to play piano at the age of 12. He initially imagined a performance career as a pianist but
decided to devote himself to composition when he realized that what came to him most naturally was
the act of writing music. Danielpour studied at the New England Conservatory and at Juilliard, with
Vincent Persichetti and Peter Mennin as his most-important mentors. He has since gone on to become
a sought-after composition teacher himself, serving on the faculties of the Manhattan School of Music
and the Curtis Institute.
Danielpour’s music embraces the familiar language of tonality from a contemporary perspective.
It draws eclectically on various aspects of the European tradition — Mozart, Britten, Shostakovich and
Stravinsky, for example — but is firmly rooted in the sound of such notable American influences as
Copland, Gershwin, Barber and Bernstein. The Beatles and jazz are among the popular and vernacular
inspirations for Danielpour’s music.
Lacrimae Beati
Danielpour composed Lacrimae Beati (“Tears of the blessed one”) in 2008 on a commission from the
Sejong Soloists string ensemble for the Great mountains International music Festival in South Korea, and
revised the score in January 2010. Dedicated to the spirit of mozart (“In memoriam: 1756-1791”), Lacrimae
Beati meditates on that composer’s final music for his Requiem and its private meanings for Danielpour.
First performance: December 2, 2009, at Alice Tully Hall in New York by the Sejong Soloists
First Nashville Symphony performance: These are the orchestra’s first performances
estimated length: 11 minutes
The genesis of Lacrimae Beati illustrates both the intimate connection Danielpour feels with the
musical past and the role serendipity plays in his creative imagination. While living in Berlin in 2002
on a fellowship, he flew one weekend to Vienna to see a performance by baritone Thomas Hampson,
a friend and colleague. Before heading to the airport to return to Berlin, Danielpour decided to pay
a visit to Beethoven’s gravesite but mistakenly ended up at the St. Marx Cemetery, where Mozart
had been buried in a notoriously unmarked mass grave — though his name was later engraved on a
memorial stone at the presumed site of his burial. “In a moment of frantically going through the rows
November

2010

InConcert

27

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What to listen for
The title Lacrimae Beati
translates as “Tears of the Blessed
One” and thus conjures the image
of Mozart himself reflecting, just as
he was in the prime of his life, on
last things. The eerie conjunction
of literally stumbling upon
Mozart’s grave and the terrifying
flight here inspire music for
string orchestra which is by turns
ominous and serenely elegiac.
“Lacrimae Beati is as much about
the Requiem of Mozart and his
struggle to complete the work as it
is about my experience of it in the

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of tombs,” writes the composer, “I
tripped over a tree stump, falling
flat on my face. When I picked
myself up, I found myself a few
yards away from a single granite
gravestone in a clearing with the
name ‘Mozart’ inscribed.”
Several hours later, as he
was bound for Berlin in a minijet, Danielpour and his fellow
passengers were violently shaken
“in the midst of 200-mile-an-hour
headwinds.” The storm, he realized
after the pilots brought the plane to
a safe landing, had uprooted several
big trees in Berlin. During the
ordeal, Danielpour recalls, “I kept
hearing, as if it were a tape loop in
my mind, the “Lacrimosa” from the
Mozart Requiem.” The “Lacrimosa”
(“that day of tears”) is not only
the final section of the Dies irae
sequence in Mozart’s unfinished
Requiem, but also represents some
of the last fragments of music
Mozart was able to write down.
“For nearly 30 years,” Danielpour
observes, “I have thought about…
the circumstances in which that
music and most of the Requiem
were composed.”

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air on October 29, 2002,” writes Danielpour.
Cast in a single movement, the music begins with a dark, sighing gesture in slow motion, deep
in the bass, against which a tier of ambiguous harmonies is stacked. This half-step motion — a
fundamental motivic idea in the piece — alludes to the two-phrase “sighs” that the violins restlessly
play throughout Mozart’s “Lacrimosa.” The full body of strings begins to build a calming chorale, but
busy figurations soon disrupt the texture. The “chorale” serves as a kind of haven as the harmonies
darken. Agitated scales suddenly sweep into the foreground, building toward a climax that resolves on
a prolonged chord of D major. Characteristic of Danielpour’s language is the dramatic use of silence to
pace musical events, as well as the combining of sacred, even archaic associations (from the Requiem)
with the here and now.
The final section reprises earlier themes and introduces a direct quotation of the violin sighs
beginning Mozart’s “Lacrimosa” — which are prepared within the harmonic context of Danielpour’s
piece. Immediately afterward, the contrast of shadow and light becomes searing in its intensity. Against
a bank of chords sustained by the other strings, a solo violin lyrically soars above and then alights,
joined by the ensemble in a radiant outburst of C major.
Lacrimae Beati is scored for string orchestra.
richard daNielpour
Songs of Solitude
Danielpour began composing Songs of Solitude in the fall of 2001 on a commission from the
Philadelphia orchestra and completed the score in January 2002. Dedicated to baritone Thomas
Hampson, the featured soloist here, the Songs mix elegiac and vernacular elements that evoke the
stages of grief in response to war’s insanity.
First performance: october 21, 2004, in Philadelphia, with David robertson conducting the
Philadelphia orchestra and Thomas Hampson as baritone soloist
First Nashville Symphony performance: These are the orchestra’s first performances
estimated length: 30 minutes
Danielpour’s first opera, Margaret Garner — based on the true story of an escaped slave, with a
libretto by Toni Morrison — premiered in 2005, but the composer’s gift for setting words to music was
already long established. As Danielpour himself has observed, much of his earlier music reveals “an
opera composer in disguise” who found inspiration in the “hidden plot” provided by poetic texts and
even by his dreams.
Songs of Solitude originated in a very dark time, in tandem with An American Requiem, which was
Danielpour’s largest composition up to that point; together, these were the last two scores he completed
before beginning work on Margaret Garner. It was on September 11, 2001, that he had settled down
to the task of proofreading his score for An American Requiem, which had already occupied him for
a year. Danielpour’s design had been to write a piece that addressed “the insanity of war,” interlacing
the texts of the Latin service with the work of American poets. It began to seem to Danielpour as if the
Requiem “in some strange and eerie way” had anticipated the nightmare that was occurring. Now, in
the wake of the terrorist attacks, Danielpour decided “to consciously create something that would be a
response to the issues surrounding such an awful tragedy. I was especially drawn to the need for peace
in troubled times.”

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As it happened, the composer was just beginning a retreat at the secluded Copland House in the
lower Hudson River Valley — the former longtime residence of Aaron Copland. Danielpour had brought
along poetry collections by the Persian mystic Rumi and by William Butler Yeats, with a view to selecting
texts for a new commission for Thomas Hampson and the Philadelphia Orchestra. He found himself
gravitating toward the intensely concentrated imagery of Yeats, with its evocations of “apocalyptic
moments [he] experienced after the First World War.” These seemed to provide a natural continuation of
what Danielpour had been wrestling with in the Requiem, with its essential question: “Why war?”
The Copland House surroundings set the tone for the air of solitude and reflection that pervades
the cycle. Danielpour points out that the plainness of the house inspired a new sense of economy
and sparseness in his own composition, as did the oracular tone of the great Irishman’s poetry. He
compares the basic emotional trajectory traced in Songs of Solitude to the “stages of grief ” as outlined
by Swiss psychiatrist Elisabeth Kübler-Ross, although there is no “literal correspondence, bar by bar.”
Danielpour sketched the entire cycle at unusual speed, in less than a month.

What to listen for
Danielpour tailored the vocal settings of the six Songs of Solitude for Hampson’s lyrical, expressive
baritone. The orchestra, meanwhile, provides a new dimension of expressive commentary to intensify
the emotional resonance. The six movements segue directly into each other, with a framework at the
beginning and end based on the same musical material. The Prologue (“A Meditation in Time of War”)
begins with a solo trumpet melody against flowing triplets, while the vocal line descends with a weary
gravitational pull. The tolling chimes and woodwind solos anticipate significant gestures to come.
Setting the first stanza of Yeats’ poem “Blood and the Moon,” the second song introduces a
dramatically violent sonority in keeping with the imagery of “a bloody, arrogant power.” The music
also tends toward the incantatory, with directions for the singer to become “ethereal, dreamlike” as he
evokes Gregorian chant. Danielpour’s “Drinking Song,” which turns to the third and fourth stanzas
of “Blood and the Moon,” suddenly injects a vernacular strain, its striding bass and jazz syncopations
echoing the aggressive symphonic jazz of West Side Story. The sound of the chimes comes to the fore
again in the fourth song (“These Are the Clouds”) and sets off the soloist’s a cappella passages.
A slight pause then leads to the most extensive song of the cycle, which is based on Yeats’ bestknown poem of apocalypse, “The Second Coming.” Danielpour establishes a triple-meter pulse
throughout, which evokes both an ominous tread and the sense of a relentless pattern. At the phrase
“the blood-dimmed tide is loosed,” he asks for “light, transparent” singing, soft but not quite falsetto,
before the soloist dramatically returns to full voice. Numerous brief orchestral interludes underline
the sense of anxious expectation. As an epilogue, Danielpour sets the first stanza of “Vacillation,” with
its pithy portrayal of human “extremities.” As a musical response to the question posed by the poem
— “What is joy?” — Danielpour returns to the strains that had opened the cycle, adding new colors to
his orchestration for the trumpet’s melody, as the music comes to a gentle, open-ended rest.
In addition to solo baritone, Songs of Solitude is scored for 3 flutes (3rd doubling piccolo), 2 oboes (2nd
doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon),
4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists (vibraphone, chimes, glockenspiel,
xylophone, crotales, water gong, suspended cymbal, hi-hat, vibraslap, guiro, low tom-tom, snare drum,
bass drum, tambourine, wood blocks, rutes, triangle, castanets and tam-tam), celesta, piano, harp and
strings.
recommended listening: Neither of the Danielpour works on this program are available on
commercial recordings, although these performances are being recorded for a future release on Naxos.
November

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Yo-Yo Ma’s GRAMMY®-winning recording of Danielpour’s Cello Concerto No. 1 (Sony) provides an
excellent entrée into his music. Also recommended are An American Requiem, featuring the Pacific
Symphony Orchestra and Chorale under Carl St. Clair (Reference Recordings), and the composer’s two
song cycles on Rilke, Elegies and Sonnets to Orpheus, with Thomas Hampson, Frederica von Stade and
Ying Huang (Sony).
iGor StraviNSky
born on June 17, 1882, in oranienbaum, russia; died on April 6, 1971, in New York City
Le Sacre du Printemps (“The Rite of Spring”)
Stravinsky first conceived of Le Sacre du Printemps as early as 1910 but wrote
the bulk of the score in 1912 and 1913, revising it in 1947. His musical vision of
“scenes of pagan Russia” became one of the defining moments of musical
iGor stravinsky
modernism. Its revolutionary sound results from bold rhythmic innovations,
ingenious orchestration and the combination of archaic folk elements with unusual harmonies. The
work continues to leave its mark on composers today.
First performance: may 29, 1913, in Paris, with Pierre monteux conducting in the pit for a performance
by the ballets russes
First Nashville Symphony performance: october 21 & 22, 1963, at War memorial Auditorium with
music Director Willis Page
estimated length: 35 minutes

In 1910, Stravinsky enjoyed a smash success with his first major work for the Paris-based Ballets
Russes. The company’s director, Sergei Diaghilev, had taken a risk by commissioning the virtually
unknown 27-year-old composer to write his score for The Firebird, a richly costumed extravaganza
based on Russian folklore. Its enthusiastic reception put Stravinsky on the international map.
While he was still composing The Firebird, Stravinsky embarked on a collaboration with Nikolai
Roerich to work out the scenario for a revolutionary new ballet based on a scene, set in archaic Russia,
of a “pagan ritual in which a chosen sacrificial virgin danced herself to death.” Roerich, a mystically
inclined archeologist and painter, was considered an authority on Russian folklore and antiquity,
and he created the eerily dreamlike set designs for the premiere. Together, the pair brainstormed and
researched aspects of primeval Russia: the score’s subtitle is “Scenes of Pagan Russia.” (See the sidebar
on p. 37 for the story told in Rite.) Stravinsky seems to have realized immediately that the music he was
beginning to imagine would push his creative instincts to the limit. In the meantime, he created the
ballet Petrushka, which premiered in 1911 and won another success with his Parisian admirers.
Rite was finally ready to be unveiled in the late spring of 1913 at the art nouveau Théâtre des
Champs-Élysées, which had recently been completed. The riot-inducing first performance has become
the stuff of legend. Yet, according to a number of Stravinsky experts, much of the audience’s reaction
was likely directed at the novel, weirdly gestural choreography devised by Ballets Russes star Vaslav
Nijinksy. In place of conventionally graceful balletic gestures, Nijinsky had his dancers contorting in
violent, earthbound patterns. The battling factions in the audience became so noisy that they eventually
drowned out the music.
The notoriety of that opening turned out to be good publicity for the ballet, even if it left the
composer traumatized. Outrage gave way to approval as the run continued. This quick shift in opinion
is just one of many paradoxes associated with Rite. Despite its initial rejection, the score almost
immediately established itself as perhaps the seminal work of 20th-century musical innovation.

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Although Stravinsky had not set out to write a
manifesto of new music, Rite became the rallying
cry of modernists. Hardly a composer since has
been able to withstand its magnetic spell.
Nowadays, this music is typically
encountered as an abstract concert piece, rather
than as a ballet score. Yet Stravinsky deeply
immersed himself in the world of pagan Russian
folk culture to create an intensely theatrical work.
From its original conception, Rite married music
with visceral images of the elementary bond
between human bodies and the earth. Inherent
in the score, therefore, is a fascinating tension
between the primal and the ultra-modern. And
— as the unfolding horrors of the 20th century
would soon bear out — these apparent opposites
share an implacable, pitiless savagery.

What to listen for
Rite’s propulsive, jagged, lurching rhythms
are probably its best-known feature. Just
as Schoenberg had been working toward
atonality with his “liberation of the dissonance,”
Stravinsky’s rhythmic innovations enact a
liberation of meter and rhythm from the
predictable, symmetrical patterns that had
dominated Western classical music since the
baroque. Stravinsky builds intricate, complex
rhythmic structures in two distinct and even
diametrically opposite ways: One involves the
use of repetitive ostinato patterns, while the
other relies on wrenchingly asymmetrical shifts
of meter that subdivide the rhythmic pulse.
Additionally, Stravinsky overlays different
metrical patterns, generating seismic jolts of
energy as they grind against one another. For
example, the conclusion of each of the ballet’s
two parts features a monstrous climax composed
of multiple tracks of instrumentation and meter.
Stravinsky stacks these together, creating a sense
of tightly controlled complexity at the precipice of
chaos.
The composer’s radical rethinking of musical
language works on all levels in Rite. Pieter
van den Toorn and other musicologists have
teased out how Stravinsky’s savage-sounding,
seemingly random dissonances derive from his

34

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Nov e m be r

2010

manipulation of the octatonic scale that had
obsessed his teacher Rimsky-Korsakov. This
eight-note scale — made of a sequence of whole
notes alternating with half-notes — is the basis,
for example, of the famous biting chords of “The
Augurs of Spring” in Part One. In yet another
example of Rite’s paradoxes, Richard Taruskin
has exhaustively demonstrated how folk music
sources are intimately embedded in Stravinsky’s
modernist innovations (a fact which the
composer went to lengths to disguise).
Another radical element of Rite lies in
Stravinsky’s innovative use of the orchestra.
Indeed, this is the first aspect of the score’s
unique musical language that we encounter,
via the bassoon’s opening tune, which is played
at the high end of its register to suggest the
rawness of untrained village singers. Throughout,
Stravinsky mixes an unusual, dazzling palette of
instrumental combinations, often spotlighting
players (especially percussion) who had been
conventionally relegated to a background role
in the orchestra, while de-emphasizing the
traditionally omnipresent strings.
While Rite builds several times to a kind of
brutalizing frenzy before its final meltdown, the
music also explodes in moments of overwhelming
— if impersonal — joy. The entire opening
section has never been bettered in its depiction
of the swarming, anarchic joie de vivre of spring
awakening. This is perhaps the greatest paradox
of this seminal score: Stravinsky’s ability to evoke
a joyful, affirmative sense of the life force that
underlies even the most violent, death-prone
extremes of the music.
Rite is scored for 2 piccolos, 4 flutes, 4 oboes,
2 English horns, 2 clarinets, E-flat clarinet, 2
bass clarinets, 4 bassoons, 2 contrabassoons, 8
horns, small trumpet, 4 trumpets, bass trumpet,
3 trombones, 4 tubas, timpani, bass drum guiro,
cymbals, antique cymbals, gong, triangle and
strings.
recommended listening: You can hear Stravinsky
himself leading the Columbia Symphony in
a performance of Rite from 1960 (Sony). The

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account by Pierre Boulez and the Cleveland
Orchestra (also on Sony) remains a classic example
of ensemble virtuosity. Michael Tilson Thomas’
ongoing DVD documentary series with the San
Francisco Symphony, Keeping Score, includes an
in-depth exploration of this music.
— Thomas May is the Nashville Symphony’s
program annotator. He writes extensively about
music and theater. His books include Decoding
Wagner and The John Adams Reader.

AboUT THe ArTISTS

the Story of ‘rite’
The Rite of Spring is divided into two
parts, each prefaced by hypnotically evocative
introductions. Part one (“The Adoration of the
earth”) centers on ancient Slavic rituals, which
proceed from playful to fiercely combative.
“All this,” Stravinsky says, “is interrupted by the
procession of The old Wise man, who kisses
the earth,” after which “the first part ends in
a frenzied dance of the people drunk with
spring.”
Part Two (“The Sacrifice”), in contrast to
the daytime setting of the first part, takes
place at night and centers on the vision that
originally inspired Stravinsky. Here the maidens
dance “secret night-games” before fate selects
one of them as the holy offering necessary
to propitiate the earth. This “Chosen one” is
glorified and then surrounded by a circle of
old Wise men, who watch during a climactic
“Sacrificial Dance” in which the girl dances
herself to death. At the end, the elders rush
forward to prevent her lifeless body from
touching the earth, raising her up to the sky.

thoMaS haMpSoN, baritone
American baritone Thomas Hampson enjoys
a distinguished international career as a recitalist,
opera singer and recording artist, and maintains
an active interest in teaching, research and
technology. He has performed in all of the world’s
most important concert halls and opera houses
with many of today’s most renowned singers,
pianists, conductors and orchestras. Hampson
has won worldwide recognition for his creative,
carefully researched programs that explore the rich
repertoire of song in a wide range of styles, languages and periods. He is one of the most important
interpreters of German romantic song and, with his celebrated “Song of America” project, has become
the ambassador of American song.
A significant part of Hampson’s 2010/11 season is dedicated to performances celebrating the
150th anniversary of Gustav Mahler’s birth and the 100th anniversary of his death. Recognized
as today’s leading interpreter of the Austrian composer’s songs, Hampson began the worldwide
celebrations on July 7, 2010 — Mahler’s 150th birthday — in Kaliste, Czech Republic, with a recital
from the composer’s birth house and an internationally televised
orchestral concert, available on DVD. Additional highlights of
Hampson’s 2010/11 season include performances in the title
role in a new production of Verdi’s Macbeth at Lyric Opera of
Chicago; three all-Strauss concerts with Renee Fleming and the
Berliner Philharmoniker conducted by Christian Thielemann;
performances and a world-premiere recording of Richard
Danielpour’s Songs of Solitude, originally commissioned for
Hampson and the Philadelphia Orchestra; and the worldpremiere of William Bolcom’s Laura Sonnets, also written
especially for him.
Much of Hampson’s 2009/10 season was devoted to the “Song
of America” project, commemorating the 250th anniversary of
what is recognized as the first song written by an American. In
thoMas haMpson
collaboration with the Library of Congress, Hampson performed
November

2010

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37

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recitals and presented master classes, exhibits and broadcasts across
the United States and through a new interactive online resource,
SongofAmerica.net.
Raised in Spokane, Washington, Hampson has received many
honors and awards for his probing artistry and cultural leadership.
He holds honorary doctorates from Manhattan School of Music,
Whitworth University in Spokane, Wash., and the San Francisco
Conservatory, and he is an honorary member of London’s Royal
Academy of Music. In 2010, Hampson was elected a member of the
American Academy of Arts and Sciences.
eliSaBeth adkiNS,
guest concertmaster
Elisabeth Adkins’ richly
varied musical life makes
her equally at home in solo,
orchestral and chamber music
repertoire. The Associate
Concertmaster of the National
Symphony Orchestra in
Washington, D.C., she also
enjoys a successful career as a
soloist and chamber musician.
As a concerto soloist, she
has performed many times
elisaBeth adkins
with the National Symphony.
She was featured with the orchestra at the special request of Iona
Brown, whom she joined in Bach’s Concerto for Two Violins.
She has appeared as soloist with the Dallas Symphony, the Seattle
Symphony and the Baltimore Symphony. Other engagements
include performances of concertos by Beethoven, Bruch, SaintSaëns, Mendelssohn, Vivaldi and Prokofiev. In 2006, she premiered
a new concerto by Tom Myron with the Eclipse Chamber
Orchestra.
Adkins joins her husband, pianist Edward Newman, in a
violin/piano duo. The radio series Front Row Washington chose
their National Gallery recital to inaugurate the series, and the
two have also been featured at Kennedy Center. A founding
member of the American Chamber Players, Adkins has recorded
with the group on Koch International Classics. She serves as
concertmaster of the Eclipse Chamber Orchestra, an ensemble
conducted by her NSO colleague Sylvia Alimena. As solo violinist
with the 21st Century Consort, she is a noted interpreter of the
contemporary repertoire.
In great demand as teacher and coach, Adkins is on the
faculty of the University of Maryland and the Levine School,
and her position as a faculty member of the National Orchestral
Institute allows her to work with young people interested in
pursuing orchestral careers.

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In a pop music scene
teeming with great singer/
songwriters, few are as talented
and engaging as Jewel. With
her rare combination of angelic
voice, winsome stage presence
and inspired songwriting,
Jewel has won a large, devoted
following since her first record,
Pieces of You, began climbing
the charts in 1995. The Nashville
Symphony will welcome Jewel
and guest conductor Matt
Catingub for three evening
performances at Lipscomb
University’s Allen Arena.
Audiences can look forward to
hearing some of Jewel’s bestloved songs, as well as some
unexpected selections that
display her remarkable range as
a singer.
Upbeat music from the
orchestra will kick off the
program, beginning with “Pick
Yourself Up,” a Jerome Kern
tune that gave Fred Astaire and
Ginger Rogers their classic duet
in the 1936 film Swing Time. The
lighthearted tone continues with
“Martha, My Dear,” the sprightly
Beatles song from their 1968
White Album. Paul McCartney
— so the legend goes — named
the song’s love object after his
Old English Sheepdog. No doubt
a very different breed of dog
will come to mind when the
Symphony nods to the coming
holiday season with a “Charlie
Brown Christmas Medley.” Jazz
great Vince Guaraldi’s sparkling
score for the 1965 television
special, Merry Christmas, Charlie
Brown, is a perennial holiday
favorite, and Nashville audiences

will enjoy a medley arranged by guest conductor
Matt Catingub. The versatile Catingub, who is
a gifted composer and performer as well as a
conductor and arranger, will also present two
of his own compositions — “The Journey” and
“Millennium Swing” — during the first part of the
program.
Jewel will take the stage for the second half
of the evening, and she’s sure to offer up fresh
renditions of her hits, including “Who Will Save
Your Soul,” the remarkably mature ballad she
wrote as she hitchhiked around Mexico when
she was just 16. Jewel has always been admired
for her poetic, thoughtful lyrics. Her songwriting
skills are matched by her gifts as a singer, and her
ethereal voice and unaffected delivery allow her to
make any song her own. Nashville audiences may
be lucky enough to hear her capture the sweet
yearning of “Somewhere Over the Rainbow” or
pay tribute to Cole Porter with a lively version of
“Anything Goes.” Even her longtime fans might be
surprised by the range and delicacy of her voice
when she performs the enchanting aria “Per La
Gloria D’Adorarvi” from Giovanni Bononcini’s
1722 opera, Griselda. Whatever her choice of
songs, Jewel never fails to leave her audiences
feeling a bit of the spirited sweetness that infuses
all her music.
— Nashville-based freelance writer Maria
Browning is pops program annotator for the
Nashville Symphony.

about the artists
JeWel
Jewel, a three-time GRAMMY® nominee
hailed by The New York Times as “a songwriter
bursting with talents,” has enjoyed career
longevity that is rare among her generation of
artists. Rising from her Alaskan childhood on
a remote ranch to the triumph of international
stardom, Jewel earned the respect of other singersongwriters such as Merle Haggard, Bob Dylan
and Neil Young, who not only invited her to open
their shows, but also mentored her in the early
phases of her career.
Whether alone with her guitar or fronting

a band of ace
musicians, Jewel
has always been
a charismatic live
performer. As a
child she performed
with her parents
throughout native
villages in Alaska.
When her parents
divorced, Jewel
Jewel
spent more than
six years touring
in a duet act with her father. At 15, Jewel went
her own way, performing solo for the first time
and earning a vocal scholarship to Interlochen,
a private arts school in Michigan where she also
majored in visual art. It was here that she learned
guitar and began writing songs. Her first record
— a live, acoustic modern folk collection called
Pieces of You — initially sold only about 3,000
copies, so Jewel hit the road with a vengeance,
playing four shows a day in 40 cities.
Hard work and heartfelt songwriting, not to
mention an exquisitely expressive voice, paid off.
After a year on the road, “Who Will Save Your
Soul” became a major hit. With the release of
two other hit singles, “You Were Meant for Me”
and “Foolish Games,” album sales went through
the roof. Hailed by The Times of London as the
most sparkling female singer-songwriter since
Joni Mitchell, Jewel steadily built her reputation
and fan base with subsequent albums. Touring
remains part of Jewel’s essence and, through her
U.S. and world tours, she has forged a powerful,
intimate bond with audiences around the globe.
Believing that deeds mean as much as
words, Jewel founded Project Clean Water, which
organizes teams of scientists and engineers to
bring safe, clean drinking water to impoverished
communities worldwide. As an ambassador to
Virgin Unite, Jewel has teamed up with Richard
Branson’s charity to bring greater awareness and
funding to Project Clean Water, as well as other
worthy causes such as youth homelessness.

November

2010

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45

Matt catiNGuB, conductor
Multitalented musician Matt Catingub wears many hats: saxophonist,
woodwind artist, conductor, pianist, vocalist, performer, composer and
arranger. He wrote music for the GRAMMY®-winning soundtrack of the
2006 film Good Night, and Good Luck., and that same year he founded
the Matt Catingub Orchestra of Hawaii, a 40-piece ensemble composed
entirely of local Hawaiian musicians. He has arranged and conducted for
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the Florida Orchestra, the Pacific Symphony, the Cincinnati Pops and
Matt catinGUB
many other orchestras.
Born to parents of Polynesian descent, Catingub is the son of the
great jazz vocalist Mavis Rivers. As a young man, he played a variety of instruments, from piano to
clarinet, but he began a lifetime love affair with the alto saxophone at the age of 16. He joined the
Louie Bellson Big Band in 1979, and just a few months later his composition “Explosion!” was recorded
on Bellson’s album Dynamite for Concord Jazz.
Beginning in 1983, he recorded several critically acclaimed jazz albums for the SeaBreeze label,
including My Mommy and Me, heralded as “one of the best big band records in years!” For High Tech
Big Band, Catingub played every instrument himself and created a big band sound using the latest
in technology — a feat still recognized as a technical hallmark in recorded music. During this same
period, Catingub was asked to lead the jazz ensembles program at the Grove School of Music in Los
Angeles. He also accepted the position of director of the New Zealand Youth Jazz Orchestra, holding
this post from 1985-90. As part of his expanding involvement with music education, Catingub became
a clinician for Yamaha, for whom he still regularly performs in concert and conducts clinics.

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claude deBuSSy
born on August 22, 1862, in Saint-Germain-en-Laye, France; died on march 25, 1918,
in Paris
Prelude to the Afternoon of a Faun
Claude Debussy completed Prelude to the Afternoon of a Faun in 1894, possibly
using sketches that go back to the previous decade. Debussy’s first important
orchestral work and his first real masterpiece, Prelude is also an early touchstone
of modernism, notable for its revolutionary approach to form and texture.

claUde deBUssy

First performance: December 22, 1894, in Paris, with Gustave Doret conducting
First Nashville Symphony performance: December 6, 1955, at War memorial Auditorium with music
Director Guy Taylor
estimated length: 10 minutes
When Prelude to the Afternoon of a Faun was first heard in Paris, the audience immediately loved
Claude Debussy’s creation and demanded an encore performance. Their reaction is in striking contrast
to the riots that greeted other works associated with the birth of modernism, including — nearly two
decades later — The Rite of Spring (performed earlier this month by the Nashville Symphony). Yet,
while it represents an early expression of modernity in music, Debussy’s exquisite 10-minute tone
poem marks a definitive moment of its own.
Debussy himself hated the analogies made between his music and the style of painting that had

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been labeled “Impressionism,” which tend to ignore the importance of literary touchstones for his
work. His inspiration for Prelude was Stéphane Mallarmé’s Symbolist poem from 1876, L’Après-midi
d’un faune (“The Afternoon of a Faun”). The poem is a dramatic monologue with a pastoral setting in
ancient Sicily and describes the erotic fantasies entertained by a faun (a mythic rural deity who is halfman, half-goat) as he recalls his attempts to seduce comely nymphs. The faun also evokes the seductive
spell of music by playing his reed pipes. Debussy initially envisioned an orchestral triptych based on
the poem, but only completed the first part (hence the otherwise enigmatic qualifier “Prelude”). This in
turn became a self-standing concert piece, although it was also made into a controversial ballet (see the
sidebar below).

What to listen for
With his Prelude, Debussy leaves behind the Romantic world of overt emotional declaration and
enters a nebulous, twilit sphere that resounds with harmonic and rhythmic ambiguities. This emerges
from the opening bars in the gauzily chromatic flute solo (a reference to the faun’s iconic piping)
that oscillates between a C-sharp and a G below — an interval known as the tritone, which casts a
tantalizingly ambiguous spell on ears accustomed to the Western tonal system.
Debussy abandons the principle of conventional thematic development, although he uses thematic
and harmonic recall throughout the piece for his own expressive ends. Similarly, Prelude veers away
from the narrative structure of Romantic tone poems, offering
a self-contained meditation on Mallarmé’s ode to sex and art.
dances with Scarves
Debussy replaces such thematic and narrative approaches with
a musical process that is closer to the hazy logic of dreams. He
In 1912, vaslav Nijinksy —
hints deliciously at the borderline state between dreaming and
who would choreograph
consciousness in the score’s breath-like gestures and exquisite
The Rite of Spring the
instrumental colorings.
following year — starred
The precision and nuance of Debussy’s scoring, which
in a ballet interpretation of
convey the ebb and flow of lust and longing, are integral to his
Prelude to The Afternoon
innovative compositional approach. They also make Prelude a
particularly challenging piece to realize in performance. Shifts
of a Faun presented by
in weight and balance among the instrumental textures are, in
Sergei Diaghilev’s ballets
a sense, what this music is about. Especially admirable is the
russes. The ballet, called The
perfectly timed touch of the “ancient cymbals” that suddenly
Afternoon of a Faun, was
cast an entirely new light of wistful reflection on the music in
the legendary dancer’s first
its final pages. The musical tissue has its own organic integrity
work as a choreographer.
as it conjures, according to Debussy, a state in which the
Nijinsky, whose version
faun “can finally realize his dreams of possession in universal
Nature.”
irritated the composer, made
Prelude to the Afternoon of a Faun is scored for 3 flutes, 2
oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 crotales
(“antique cymbals”), 2 harps and strings.
recommended listening: Pierre Boulez’s second account on
disc (Deutsche Grammophon), with the Cleveland Orchestra,
is breathtaking in its refinement. Included on the same disc are
Debussy’s Images and Printemps.

the erotic desire so languidly
expressed in Debussy’s
music explicit by simulating
physical pleasure with one
of the nymph’s scarves.
So Prelude did, in the end,
provoke scandal, though not
on account of the music.

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FraNz SchuBert
born on January 31, 1797, in vienna; died on November 19, 1828, in vienna
Symphony No. 6 in C major, D. 589 “Little”
Franz Schubert composed his Symphony No. 6 in C major between october
1817 and February 1818. This work of his early adulthood has been overshadowed
by its two successors — the Unfinished Symphony and the “Great” Symphony
in C major — but offers many delights of its own and shows how Schubert
brings his personal style of lyricism and invention to the symphonic tradition
he inherited from the great viennese masters. It also adds the witty charm of
Rossini’s influence to the mix.

Franz schUBert

First (public) performance: The Symphony No. 6 received a private performance by a small chamber
orchestra in 1818, but was given its public premiere on December 14, 1828 — less than a month after
Schubert’s death — by the vienna Society of Friends of music.
First Nashville Symphony performance: January 15 & 17, 1987, at Tennessee Performing Arts Center
with Associate Conductor Amerigo marino.
estimated length: 35 minutes
As Schubert approached the end of his teen years, he experienced a geyser-like outburst of creative
activity. In 1815, when he was only 18, he enjoyed his most prolific year as a composer, producing
about 140 songs, along with numerous other works. By 1816, he was beginning to channel more of this
energy into ambitious, large-scale instrumental forms.
Schubert had a more difficult time coming of age as a young man than he did as a composer. His
attempts to establish a career path that could support his artistic ambitions proved frustrating, and
he found himself locked into a hated, dead-end job teaching in his father’s primary school. Before
Schubert could — with the encouragement of a close-knit circle of loyal friends — permanently break
free to take up his famously Bohemian lifestyle, composition provided his escape hatch from the
drudgery of his teaching duties.
Schubert’s earlier formal training had included a period of study with Antonio Salieri, known
to fans of Amadeus as Mozart’s jealous rival — and who, as it happens, was a former teacher of
Beethoven’s as well. The elderly Salieri seems to have tried to direct his young pupil toward Italian
prototypes and the medium of opera. By the time of his Sixth Symphony, Schubert had made his own
thorough study of his forebears in the classical Viennese school — Haydn, Mozart and Beethoven —
but he was also captivated by the operas of Rossini, which were taking post-Napoleonic Europe by
storm. Visits by the Italian Opera Company to Vienna, starting in late 1816, had sparked a Rossini
craze. While he was at work on the Sixth Symphony, Schubert even paused to write two concert
overtures, which were later subtitled “in the Italian style.”
The subtitle “Little,” which was posthumously given to this piece, was meant to distinguish it
from his other, later C-major symphony — known as No. 9, the last symphony Schubert completed
and a work indeed epic in scope. But the unfortunate connotations of “trivial” or “unimportant” may
also have unnecessarily biased music lovers against the charms of what remains a relatively neglected
composition. In fact, the Sixth is just as sizable as the later symphonies of Mozart and Haydn, and
several of Beethoven’s as well.

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them as well. Their spirit dominates in the lucid
scoring and sweetness of the F-major Andante. An
intervening episode confronts Schubert’s lyrical
sensibility with cross-grain gestures of harmonic
and rhythmic contrasts. This music is hardly “little”
in terms of its layout and juxtapositions.
In his previous five symphonies, Schubert
retained the term “minuet” for his third
movement; here he replaces it with “Scherzo” for
the first time. The main part of the movement
frolics with the same pattern and play of loud
against soft that are familiar from Beethoven’s
pioneering symphonic scherzos. (In particular,
Beethoven’s First Symphony is the obvious model
here, though Beethoven himself had actually
called that movement — perhaps tongue-incheek — a “minuet.”) The pastoral Trio surprises
with both its modulation (E major against the C
major of the rest of the movement) and its length.
Schubert’s finale looks ahead to the ambling,
leisurely excursions of his later scores even as it
introduces particularly “Rossini-esque” elements
in its sparkling, opera buffa sensibility.

What to listen for
A major feature of the Sixth Symphony is its
curious mixture of rhetorical attitudes. A slow
introduction begins imposingly, in the manner of
several of Schubert’s high-classical predecessors,
and suggests great events about to unfold. Yet
the first movement proper actually begins almost
insouciantly, with a lighthearted theme cheerily
piped by flutes and oboes. Schubert’s scoring is
often chamber-like in its textures, and in its deft
treatment of woodwinds contrasting with strings
and with the full ensemble. The development
plays up the relaxed manner of the main theme
by feigning a “false” return before the real
recapitulation settles in. Schubert unexpectedly
veers toward full-blown, muscular statements of
a more “heroic” cast in the coda, for which he
speeds up the tempo.
Although Beethoven casts a clear shadow over
this score (the just-mentioned coda even alludes to
the dissonant harmonies of the Leonore Overture
No. 3), Schubert was a profound admirer of
Mozart and Haydn, and drew many lessons from

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Symphony No. 6 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and
strings.
recommended listening: The recording Sir Thomas Beecham made in 1955 with the Royal
Philharmonic at the Abbey Road Studio remains the most elegantly persuasive account of this work
in the catalogue. It’s paired with two other early Schubert symphonies (Nos. 3 and 5) in the Great
Recordings of the Century series (EMI).
ludWiG vaN BeethoveN
born on December 16, 1770, in bonn, Germany; died on march 26, 1827, in vienna
Symphony No. 6 in F major, Op. 68 “Pastoral”
Using sketches that date back several years, beethoven composed the
Symphony No. 6 (“Pastoral”) between the fall of 1807 and early 1808. He
dedicated the score to his patrons Count Andreas von rasumovsky and Prince
Franz Jospeh von Lobkowitz (both also dedicatees of the Fifth Symphony). The lUdwiG van Beethoven
“Pastoral,” a testament to beethoven’s abiding love of nature as a healing source,
was composed in tandem with the Fifth Symphony but explores a strikingly contrasting musical world.
First performance: December 22, 1808, in vienna, with the composer conducting
First Nashville Symphony performance: February 24, 1950, at War memorial Auditorium with music
Director William Strickland
estimated length: 45 minutes
We tend to think of the initial impact of the Fifth Symphony, with all its remarkable strangeness,
as an isolated event.. In fact, the Fifth and the Sixth premiered together (see sidebar on p. 58). That first
audience may well have wondered how these two symphonies could possibly be the work of the same
composer; yet Beethoven not only composed both, but did so almost simultaneously. The familiar and
overly simplistic distinction between the Sixth and the Fifth as representing opposites — “feminine”
and “masculine,” respectively — is sometimes described as the result of the composer’s need to “wind
down” after the exertions of the more starkly dramatic and dynamic Fifth Symphony. In reality, the two
works are more like twins in their simultaneous genesis and in some of the features they share, despite
the dissimilarity of their overall characters.
Beethoven restlessly moved from one lodging to another within Vienna, but he always felt at home in
the countryside. The Sixth can be seen as his expression of thanks for the therapeutic joy he always found
in nature. He even appended suggestive titles to each of its movements, all of them relating to scenes of
nature and the countryside. These run as follows: “Awakening of Cheerful Feelings on Arriving at the
Countryside” (first movement); “Scene by the Brook” (second movement); “Merry Assembly of Country
Folk” (filling the usual position of a Beethoven Scherzo in the third movement); “Thunderstorm”
(brief interlude); and “Shepherd’s Song: Happy, Grateful Feelings After the Storm” (finale). In a notable
structural innovation, Beethoven links the last three movements together without pause.
Despite his labeling of the piece, Beethoven seems to have been wary of being “read” too literally
(an ambivalence later composers, such as Mahler, would also experience). To head this off, he pointed
out that his music was “more an expression of feeling than painting.” Like Debussy’s Prelude, the
“Pastoral” conjures its own self-contained world, suggesting a natural space, without overt reliance on
an external narrative.
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What to listen for
The first movement is very much about awakenings —
gentle, not dramatic, ones. The distinction is particularly
apparent if you pay attention to the rhythm with which the
first theme, given to the violins, begins: ta-ta-ta-TA. Although
it continues after that to follow a different pattern, and the
melodic direction is different (up and down), this rhythm is
reminiscent of the opening motto from the Fifth Symphony.
As in the Fifth, Beethoven pursues rhythmic ideas in the Sixth
with a fixed determination — but how strikingly different is
the effect. Where the Fifth is built on powerful ratchetings of
tension to suggest struggle and defiance, the first movement
of the “Pastoral” evokes a vast sense of leisured relaxation —
as if this trip to the country really means escaping mundane
temporality. In place of a sense of relentless fate, Beethoven
here anticipates the giddy euphoria of Minimalism’s recurring
loops.
The lengthy slow movement takes this principle of
relaxation even further. It’s a daring ploy, coming right after
an opening movement that itself made a point of removing
dramatic tension. Yet Beethoven’s luscious orchestration (a
quality not often associated with the composer) adds color
to the patient waves of his melody. At times, the serenity

Schubert and Beethoven
Schubert did regard beethoven
as a musical hero, particularly in
his last decade, but his attitude
wasn’t always consistent. In
fact, in a diary entry from 1816,
Schubert refers to beethoven as
a purveyor of “that eccentricity
which joins and confuses heroism
with howling….” It isn’t known for
certain whether Schubert ever
met beethoven, though the two
composers inhabited the same
city. beethoven was reportedly
impressed by the quality of
Schubert’s songs, declaring,
“Truly, in Schubert there dwells
a divine spark!” During the older
master’s funeral — which took
place less than two years before
his own — Schubert served as
one of the torchbearers.

of this music even seems to foreshadow the
almost disembodied, ecstatically floating slow
movements of late-period Beethoven. The series
of woodwind cadenzas near the end, suggesting
different birdcalls, are among the more explicitly
extramusical references in the “Pastoral.”
This programmatic element comes to the fore
in the next two movements — but again, without
being tied to a specific narrative. The third
movement’s “merry gathering” adds earthiness
to the innocence, restoring a very physical sense
with its vigorous rhythms, in contrast to the
ethereal flow of the preceding movement. The
dancing and the raw humor of the peasants in
the Trio bring a striking contrast in meter: an
emphatic 2/4, as against the fleet triple time of the
main part of the movement. This is followed by
a fascinating structural innovation: an interlude
movement linked to the Scherzo and to the finale.
Clouds overshadow the peasant fun with ominous
pianissimo until the thunderstorm arrives in full
fury. (Fans of The Barber of Seville will recognize
that Rossini may have given a nod to this passage
in his own storm music for the second act.)
Musically, the harsh harmonies, dynamic contrasts
and orchestral effects of timpani and piercing
piccolo introduce the single passage of serious
conflict that occurs within the “Pastoral.”
Whereas blazing victory is attained after
terrible struggle in the Fifth, the finale of the
“Pastoral” entails a gentler thanksgiving — once
again, anticipating a radiant moment in one of
the late-period string quartets. The winds intone
a hymn-like phrase leading to the wheeling main
theme, which is introduced by clarinet, then
passed on to the horn, elaborated by the strings
and finally given to the full ensemble. Even
though the spirit of relaxation here is reminiscent
of what we heard in the first two movements,
Beethoven’s achievement is to make us feel as
though we’ve landed in a new place. The coda
touches on a note of nostalgia before bringing the
idyll to a close.
The Symphony No. 6 is scored for piccolo, 2 flutes
and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, 2 trombones, timpani and strings.

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a historical premiere
If you had a time machine to carry you to
one blockbuster event in music history, a
tempting choice of destination would have
to be the concert on December 22, 1808,
at vienna’s Theater an der Wien (the same
venue where the early version of Fidelio had
premiered three years earlier, and where
beethoven had taken up lodging for a time).
The program that night was entirely devoted
to new works by beethoven. While the
reportedly unheated hall may have been
freezing, and the concert exhaustingly long,
you would have been in the first audience to
hear — in the same sitting! — both the Fifth
and the Sixth Symphonies. As if that weren’t
enough, the program also featured the Fourth
Piano Concerto, excerpts from the mass in C
major, a concert aria and the Choral Fantasy
(a kind of precursor to the Ninth).
recommended listening and further
exploration: Karl Böhm and the Vienna
Philharmonic made a legendary recording of the
“Pastoral” (Deutsche Grammophon) that still
tops many critics’ lists. An example of Beethoven’s
influence on literature can be found in André
Gide’s touching novel La symphonie pastorale
(1919), about a pastor and the blind girl he
adopts.
— Thomas May is the Nashville Symphony’s
program annotator. He writes extensively about
music and theater. His books include Decoding
Wagner and The John Adams Reader.

AboUT THe ArTIST

Juliette kaNG, guest concertmaster
A native of Edmonton, Canada, Juliette Kang
serves as First Associate Concertmaster of the
Philadelphia Orchestra. She came to Philadelphia
from the Boston Symphony Orchestra, where
she served as assistant concertmaster from
2003 to 2005. Prior to that, she was a member
of the first violin section of the Metropolitan
Opera Orchestra from 2001 to 2003. During the

1999/2000 season, she was principal second violin
with the Kennedy Center Opera Orchestra.
Kang was the gold medalist in the 1994
International Violin Competition of Indianapolis.
In 1989, at age 13, she was a Young Concert
Artists Audition winner, and she won the Grand
Prize at the Menuhin Violin Competition in Paris
in 1992. In 1994 she was profiled in The New York
Times Sunday Magazine as one of 30 people under
30 “most likely to change the culture over the next
30 years.”
Kang holds a Master of Music degree from
the Juilliard School, where she studied with
Dorothy DeLay and Robert Mann. She began
violin studies at age 4, and six years later she
entered the Curtis Institute of Music as a student
of Jascha Brodsky.
Kang has performed chamber music
at summer festivals including Marlboro,
SpoletoUSA, Skaneateles, Great Lakes Chamber
Music and Mostly Mozart at Lincoln Center,
where she performed the Ravel duo with her
husband, cellist Thomas Kraines. Her solo
engagements have included appearances with

the orchestras of
San Francisco,
Philadelphia,
Baltimore, Detroit
and Indianapolis,
as well as with
the Boston Pops,
Hong Kong
Philharmonic, the
Vienna Chamber
Orchestra and the
JUliette kanG
Orchestre National
de France. In her
native Canada, she has soloed with the orchestras
of Toronto, Winnipeg, Montreal, Quebec City,
Calgary and Edmonton, and with the National
Arts Centre Orchestra of Ottawa.
An accomplished recitalist, Kang has
performed in Paris at the Théâtre du Châtelet,
in Tokyo at Suntory Hall, at Boston’s Gardner
Museum and at the Frick Museum in New York.
Her 1996 recital at Carnegie Hall was recorded
and released on the Samsung/Nices label. She has
also recorded on the CBC label.

AboUT THe ArTISTS
BeN FoldS
A favorite on the symphony
circuit, Nashville singer-songwriter
and multi-instrumentalist Ben Folds
first found mainstream success as
the leader of the critically acclaimed,
platinum-selling Ben Folds Five. He
has gone on to have a very successful
solo career, releasing four studio
albums, a pair of records documenting
Ben Folds
his renowned live performances, and
a remix record. Lonely Avenue, a collaboration with English novelist Nick Hornby, was recently
released on Nonesuch Records. The album features music and vocals by Folds and lyrics by
Hornby, with string arrangements by influential pop string arranger Paul Buckmaster (David
Bowie, Elton John, Leonard Cohen). GQ UK says, “Lonely Avenue is a fantastic album…the
melodies soar in time-honoured Folds style, the lyrics are subtle and lovely and deftly done.”
In 2009, Folds served as a judge on NBC’s a cappella competition The Sing-Off, a role he will
reprise this month on the show’s second season.
Folds has a special relationship with symphony musicians, having performed with some of
the world’s greatest orchestras, including a record-breaking sold-out Australian symphonic tour
in 2006, repeatedly sold-out nights at the Kennedy Center with the National Symphony Orchestra
and at the Boston Pops with conductor Keith Lockhart, and several full-house residencies at the
Sydney Opera House in Australia.
FraNciSco Noya, conductor
Francisco Noya has served as resident conductor of the Rhode Island Philharmonic Orchestra
for 13 seasons. As resident conductor, he presents pre-concert talks and serves as “cover”
conductor for all Classical Series concerts. He conducts the orchestra’s education concerts, its
POPS-PHIL-PPAC Series and its Summer Pops concerts, including the orchestra’s Fourth of July
concert at India Point Park this past summer. Also in July, Noya conducted the classical concert
“Philharmonic on Fire!,” the orchestra’s first-ever appearance at WaterFire.
Noya began his career in the United States in 1979, earning degrees in composition and
conducting from Boston University. Since that time, he has served as guest conductor with
the Baltimore, San Antonio and Omaha symphony orchestras, among others. He was music
director of the Empire State Youth Orchestra in Albany, New York, for 10 seasons, leading the
group on two European tours as well as conducting them in concerts at both Carnegie Hall and
Tanglewood. He served as music director of the Longwood Symphony Orchestra in Boston for
12 seasons, and he conducted acclaimed performances of Bellini’s Norma and Verdi’s Aida with
Symphony by the Sea and the Bel Canto opera company. He currently serves as a member of the
conducting faculty of Berklee College of Music in Boston. In the fall of 2008, he began his tenure
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2010

as music director of the Berklee Contemporary Symphony Orchestra.
A native of Venezuela, Noya served as assistant conductor of the Caracas Philharmonic,
and as assistant to the music director of the Teatro Teresa Carreño. He has appeared as guest
conductor with orchestras in Brazil, Venezuela, Austria, the Czech Republic, Spain and Russia. As
guest conductor with the Academia Stefano Tempia in Torino, Italy, he conducted a performance
of Mozart’s Requiem that was part of the 250th anniversary celebrations of Mozart’s birth. Noya
frequently travels to Venezuela, where he holds master classes for young conductors of the famed
El Sistema, the world-renowned music education program there. He also conducts orchestras
throughout Venezuela.
Noya resides in Providence and can frequently be spotted on the tennis courts at Roger
Williams Park.
ethaN BortNick
At only 9 years old, Ethan Bortnick can already claim
accomplishments that many musicians work toward for an entire
career. With a musical sophistication well beyond his years and the
ability to play almost any song by ear, he has developed a repertoire
ranging from classical masterpieces to current chart-toppers. He
began composing his own music at age 5. On February 1, 2010,
Ethan joined music’s biggest names, including Barbra Streisand and
Celine Dion, as the youngest member of the line-up for “We Are the
World: 25 for Haiti,” a charity recording produced by Quincy Jones
and Lionel Richie.
In August 2010, he became one of the youngest musicians with
a PBS concert special when Ethan Bortnick and His Musical Time
Machine aired nationally on the network. Ethan will take his show
ethan Bortnick
on the road in late 2010 and early 2011, lighting up the stage in his
first national headlining tour. The tour, scheduled to stop in more than 50 cities, will feature Ethan
performing some of music’s biggest hits and classics for audiences of all ages. While on tour, Ethan
will perform some of his own compositions, sharing the inspirational stories behind each piece.
Ethan learned to play the piano at age 3 by mimicking any music he heard. He made his
national television debut in May 2007 with an appearance on The Tonight Show with Jay Leno,
and he has since appeared on The Oprah Winfrey Show, Good Morning America and The Martha
Stewart Show. He made his concert stage debut in 2007 as well, opening for Nelly Furtado. He
has taken the stage with both the Orlando and Naples Philharmonic Orchestras, making him
the youngest piano soloist ever to perform with these ensembles. Through concert and charity
events, he has shared the stage with legendary artists including Elton John, Natalie Cole, Smokey
Robinson, Beyoncé, Reba McEntire and many more.
Ethan has also made a name for himself as one of the world’s youngest philanthropists.
Through performing, inspiring and educating, he has helped raise millions of dollars for charities
around the world, including the Miami Children’s Hospital, the Boys & Girls Club, the American
Heart Association, the Starkey Hearing Foundation and many others.
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Conductors

Giancarlo Guerrero, music director

N

ow entering his second season with the Nashville Symphony, Giancarlo
Guerrero continues to flourish as the orchestra’s music director. A fervent advocate of new music and contemporary composers, Guerrero has
collaborated with and championed the works of several of America’s most
respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Michael Daugherty and Roberto Sierra. In the fall of
2009, Naxos released a recording of Guerrero and the Nashville Symphony
performing works by Michael Daugherty. This coming season, Guerrero and
the orchestra have two more recordings planned for release on Naxos, the
first featuring the music of Argentine legend Astor Piazzolla and the second
featuring American composer Joseph Schwantner.
photo by david Bailey
During the 2010/11 season, Guerrero will travel to five continents to
guest-conduct a wide array of repertoire. In North America, he conducts the Cleveland Orchestra during
one of its Miami residency weeks, marking his fourth appearance with the orchestra in as many years. He
also returns to the Kansas City Symphony for a second consecutive year. In South and Central America,
he makes his Brazilian debut with the São Paulo State Symphony Orchestra in a two-week residency with
concerts in both São Paulo and Rio de Janeiro. He now returns annually to Caracas, Venezuela, to conduct
the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El
Sistema music education program. In addition, he will make a special appearance in his native Costa Rica
to conduct the 70th anniversary gala concert of the Costa Rican National Orchestra. Guerrero appears for
the first time in Asia conducting the Malaysian Philharmonic Orchestra in Kuala Lumpur, again with a twoweek residency. He returns to Australia for a re-engagement with the Adelaide Symphony Orchestra, which
he conducted at the 2008 Adelaide Festival, coupled with a debut visit to the West Australian Symphony Orchestra in Perth. In Europe he will make his debut with the Brussels Philharmonic.
Last season, Guerrero made his Boston Symphony Orchestra debut at Tanglewood and returned to the
Philadelphia Orchestra at the Mann Center. His European engagements included return appearances with
Lisbon’s Gulbenkian Orchestra and his U.K. debut with the Royal Scottish National Orchestra. In recent
seasons he has appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore, Seattle, Dallas, Detroit, Indianapolis, Houston, Milwaukee, Cincinnati, San Diego,
Toronto, Vancouver and the National Symphony in Washington, D.C. He has also appeared at several major
summer festivals, including the Los Angeles Philharmonic at the Hollywood Bowl, Cleveland Orchestra at
Blossom Music Festival, and Indiana University’s summer orchestra festival.
Also in demand in Central and South America, Guerrero made his debut at the Casals Festival with
Yo-Yo Ma and the Puerto Rico Symphony Orchestra in 2005, which was followed by return engagements
in 2006 and 2007. He recently conducted the Filarmónica de Buenos Aires in one of its first concerts in the
newly refurbished Teatro Colón, where he first appeared with the orchestra in 2005.
Equally at home with opera, Guerrero works regularly with the Costa Rican Lyric Opera and in recent
seasons has conducted new productions of Carmen, La bohème, and Rigoletto. In February 2008, he gave the
Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival, to great acclaim.
In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide. He holds
degrees from Baylor and Northwestern universities. He was most recently the music director of the Eugene
Symphony. From 1999 to 2004, Guerrero served as associate conductor of the Minnesota Orchestra, where
he made his subscription debut in March 2000 leading the world premiere of John Corigliano’s Phantasmagoria on the Ghosts of Versailles. Prior to his tenure with the Minnesota Orchestra, he served as music director of the Táchira Symphony Orchestra in Venezuela.

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Conductors
Albert-George Schram,
resident conductor

Kelly corcoran,
associate conductor

Albert-George Schram, a
native of the Netherlands, has
served as resident conductor of
the Nashville Symphony since
August 2005 and is concurrently
staff conductor of the Columbus
Symphony Orchestra. He also
holds regular guest-conducting
photo by aMy dickerson
positions with the Tucson Symphony and the Charlotte Symphony Orchestra.
When the Nashville Symphony opened
Schermerhorn Symphony Center in 2006, Schram
was invited to become the orchestra’s resident conductor. While he has conducted on all series the
orchestra offers, Schram is primarily responsible for
its Bank of America Pops Series.
Maestro Schram’s longest tenure has been with
the Columbus Symphony Orchestra, where he has
worked in a variety of capacities since 1979 and is an
audience favorite for all series he conducts, including Pops and the CSO’s summer season. As a regular
guest conductor of the Charlotte Symphony Orchestra, Maestro Schram in 2002 opened the orchestra’s
new permanent summer home, Symphony Park. He
has regularly conducted the Charlotte Symphony for
nine consecutive years.
In 2008 Maestro Schram was invited to conduct
the Orquesta Sinfónica Nacional of Bolivia in La Paz
and the Orquesta Sinfónica UNCuyo in Mendoza,
Argentina. His other foreign conducting engagements have included the KBS Symphony Orchestra
and the Taegu Symphony Orchestra in Korea, and
the Orchester der Allgemeinen Musikgesellschaft
Luzern in Switzerland. He has made return appearances to his native Holland to conduct the Netherlands Radio Philharmonic and the Netherlands
Broadcast Orchestra.
Schram’s studies have been largely in the
European tradition under the tutelage of Franco
Ferrara, Rafael Kubelik, Abraham Kaplan and
Neeme Järvi. He received the majority of his initial
training at the Conservatory of The Hague in the
Netherlands. His training was completed at the
University of Washington.

The 2010/11 season marks
Associate Conductor Kelly
Corcoran’s fourth season with the
Nashville Symphony. During this
time, she has conducted a variety
of programs, including the
Symphony’s SunTrust Classical
Series and Bank of America Pops
Series, and has served as the primary conductor
for the orchestra’s education and community
engagement concerts. She also conducted the
Nashville Symphony’s CD with Riders In The Sky,
‘Lassoed Live’ at the Schermerhorn.
Corcoran debuts this season with the Houston
Symphony, Louisville Orchestra, Colorado Symphony and Springfield (Mo.) Symphony. She has
conducted orchestras throughout the country, including performances with the Milwaukee, Detroit
and National symphonies, as well as the Naples
(Fla.) Philharmonic. In 2009, she made her successful South American debut as a guest conductor with
the Orquesta Sinfónica UNCuyo in Mendoza, Argentina. She has developed a reputation for exciting,
energized performances. The Tennessean hailed her
work on the podium as “lively” and “fresh.”
Named as Honorable Mention for the Taki Concordia Conducting Fellowship, Corcoran conducted
the Bournemouth (UK) Symphony in January 2008
and studied with Marin Alsop. Prior to her position in
Nashville, she completed three seasons as assistant conductor for the Canton Symphony Orchestra in Ohio
and music director of the Canton Youth Symphony and
the Cleveland-area Heights Chamber Orchestra.
In 2004, Corcoran participated in the selective
National Conducting Institute, where she studied with
her mentor, Leonard Slatkin. She has held additional
posts as assistant music director of Nashville Opera,
founder/music director of the Nashville Philharmonic
Orchestra and fellow with the New World Symphony.
Originally from Massachusetts and a member
of the Tanglewood Festival Chorus for more than 10
years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory. She
received her Master of Music in instrumental conducting from Indiana University. Corcoran currently serves
on the conducting faculty at Tennessee State University.
November

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Conductors
George Mabry,
chorus director and conductor
George Mabry, who has directed the Nashville Symphony Chorus since 1998,
is Professor Emeritus of Music at Austin Peay State University in Clarksville.
He served as Director of its Center for the Creative Arts and Director of Choral
Activities at the university until his retirement in 2003.
While at Austin Peay, Mabry’s choirs performed for national and regional
conventions of the Music Educators National Conference and the American
Choral Directors Association. A native Tennessean, Mabry holds a Bachelor’s
Degree from Florida State University and Master of Music and Doctor of
Philosophy degrees from George Peabody College for Teachers at Vanderbilt University.
Mabry is active as a choral clinician and festival adjudicator. He has conducted All-State
choirs in Kentucky and Virginia.
Mabry is also a published composer and arranger. In addition to his choral and
instrumental compositions, he has written and produced musical shows for entertainment
parks around the country. He was formerly Director of Entertainment for Opryland U.S.A.
in Nashville. In 2003, he received the Governor’s Award in the Arts for Arts Leadership in
Tennessee and the Spirit of Tennessee Award from the Tennessee Arts Academy.

Oak Hill School students shine on
stage and throughout life.

The Holiday Tradition

Nov. 19, 2010 - Jan. 2, 2011

Gaylord Opryland® Resort’s A Country Christmas®
is proud to present the Radio City Christmas
Spectacular® starring the world-famous Radio
City Rockettes® along with ICE! featuring Santa
Claus is Comin’ to Town®, the all new Louise
Mandrell’s ‘The Gift’ Christmas Dinner & Show;
entertaining cruises aboard the General Jackson®
Showboat; our Winter Wonderland area featuring
Photos with Santa; our Treasures for the
Holidays Craft Show and Hall of Trees; Carriage
Rides; Brightest Star Christmas Fountain Show
and nearly 2 million Christmas lights. It’s everything
Christmas and all at Gaylord Opryland Resort.

ChristmasAtGaylordOpryland.com
Events subject and dates are subject to change

the Nashville Symphony is deeply grateful to the following individuals who support its
concert season and its services to the community through their generous contributions
to the Annual Fund. Donors as of October 1, 2010.

Support the Nashville Symphony
the nashville symphony thrives thanks to the generosity of the many individuals and businesses across
middle tennessee who share our belief that art has the power to transform lives and communities. We invite
you to join them by supporting the nashville symphony with a tax-deductible gift to our annual Campaign.
an essential source of revenue for our organization, the annual Campaign allows the nashville symphony to:
•
•
•

•

reach more than 95,000 people of diverse backgrounds through our free annual community concerts.
invite world-renowned artists such as andré Watts, Frederica von stade, michael mcdonald, Jewel and
david sanborn to perform for local audiences.
provide barrier-free music education to thousands of students in metro nashville public schools and
across the entire middle tennessee region through our Young people’s Concerts, our innovative one
note, one neighborhood initiative, and our instrument loan program.
support the work of today’s leading composers and maintain an active schedule of innovative, awardwinning commissions and recording projects.

thank you for believing in the nashville symphony! this year, your support is needed more than ever before
as we continue to rebuild following the flood in may. You can make your gift to the nashville symphony by
donating online at nashvillesymphony.org; by phoning annual Campaign Coordinator Kathleen mcCracken
at 615.687.6438; or by mailing your gift to the nashville symphony, one symphony place, nashville tn 37201.
Mission Statement
the nashville symphony is dedicated to achieving the highest standard for excellence in musical
performance and educational programs, while engaging the community,
enriching audiences and shaping cultural life.
November

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Celebrating a New Decade of Continued Excellence
The Blair Concert Series 2010-2011

For information about our free faculty and student performances, guest artists, lectures, master classes,
and more, visit the new Blair website at blair.vanderbilt.edu
Blair School of Music • Vanderbilt University
2400 Blakemore Avenue • Nashville, TN 37212
Complimentary valet parking and FREE self-parking for most events

Corporations, Foundations & Government Agencies
the Nashville Symphony is deeply grateful to the following corporations, foundations and
government agencies that support its concert season and its services to the community
through generous contributions to the Annual Fund. Donors as of October 1, 2010.

Call your State Farm agent for details on coverage,
costs, restrictions and renewability.
The Long-Term Care Insurance policy series 97058 and the
Medicare Supplement Insurance policy series 97037, 97038,
and 97039 are underwritten by State Farm Mutual Automobile
Insurance Company. These policies are not connected with
or endorsed by the United States Government or the Federal
Medicare Program.
State Farm Mutual Automobile Insurance Company •
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LTCMS-04
P064016 11/06

HONORARY &
MEMORIAL GIFTS
in memory of
carole slate adams
in memory of
carol ainsworth
in honor of
Bette Berry
in memory of
Jessica Bloom
in honor of
zeneba Bowers (2)
in honor of
Bridgie Brelsford
in memory of
Jerome Buc
in memory of
elizabeth carrĂŠ-pirtle (3)
in honor of
Barbara chazen
in honor of
olivia collins
in memory of
Geraldine riordan conrick
in memory of
Geoffrey crisco (3)
in honor of
Jeanne crossnoe
in memory of
Gerry daniel
in honor of
dr. laura dunbar
in honor of
richard eskind
in honor of
Mr. & Mrs. earl Fischer
in memory of
Gary Fitzhugh
in memory of
keith peter Fosbinder
in memory of
sandra Franklin
in honor of
James Gooch
in memory of
Jeannie hastings
in honor of
ronda combs helton

in memory of
t. earl hinton & nora
Gardner smith hinton (3)
in memory of
davis hunt
in memory of
lillian vann hunt
in honor of
Martha r. ingram (2)
in memory of
rodney irvin
in memory of
Mrs. ann rita Jameson
in memory of
Mark alan lewis
in memory of
Mary hannah long
in memory of
clare hellman loventhal (26)
in honor of
callum, Julia and
a. J. Mccaffrey
in memory of
Marie Musgrave McGlasson
in memory of
cate Myer
in memory of
claude n. o'donnell
in memory of
Mildred J. oonk
in honor of
hal pennington
in memory of
edward s. pride
in honor of
albert-George schram
in memory of
Mary Jane stewart (4)
in memory of
harry stratton (2)
in memory of
Marjorie valentine
in memory of
sandra k. whipple (3)
in memory of
charles c. wollett

A tIME FOr GrEAtNESS cAMpAIGN
A time for Greatness, the Nashville Symphony’s endowment campaign, ensures a
brilliant future for the orchestra. Funds raised through A time for Greatness are used
to increase the orchestra’s financial capacity to support continuing artistic growth
and program development, and sustain the orchestra’s expanded operations in
Schermerhorn Symphony center. changes as of October 1, 2010

Conveniently located near I-65
and I-440 in Green Hills.
Now accepting applications call for an admissions packet;
personal tours available.
“There’s something special about this place.”

15 homes.
6 years.
Thank you.
The Habitat HomeStores sell donated
home-related items and building
materials at generous discounts to the
public. Donations to and purchases
from the HomeStores have funded the
construction of 15 Nashville Area
Habitat homes for more than 50 family
members in six years of operation.

Nashville Area Habitat for Humanity is an ecumenical Christian ministry that provides
people with the life-changing opportunity to purchase and own quality, affordable homes.
We are an equal opportunity/drug-free employer. For information on Fair Housing
and Equal Opportunity go to www.hud.gov/offices/fheo or call the local HUD office.

This advertising space has been made available through a generous
gift from the Glover Group in honor of Jack and Daniella Fleischer
and Hermitage Lighting Gallery for their continued support and
commitment to Nashville Area Habitat and the Habitat HomeStores.

recently performed at
Lipscomb University with
playwright John Patrick Shanley

unique Presidential Lectureship
for Art and Art History that brings

in attendance offering commentary

national and international visual arts notables

afterwards. It’s this kind of education

to Middle Tennesseans. In fact, there are few

innovation that characterizes Lipscomb’s

weeks in which there is not an arts event on

School of Fine and Performing Arts

campus, open to the public and many at no

including being the first university in

charge. For details, go to events.lipscomb.edu.

the U.S. to adopt Britain’s acclaimed

We believe your life will be enriched, no doubt.

We have Doubt
In the arts.

o
PRIVATE SHOPPING AVAILABLE

2203 Bandywood Drive, Nashville
615.383.1331

www.pastichenashville.com

events.lipscomb.edu

LegacySociety

Help the Nashville Symphony
plan for the Future
When Schermerhorn Symphony Center opened to the public in 2006, we envisioned our concert
hall serving many generations for decades to come. If you have that same vision for the Nashville
Symphony, then a planned gift can become your ultimate demonstration of commitment and support.
You can help us plan for our future â&#x20AC;&#x201D; and your own â&#x20AC;&#x201D; through this creative approach to philanthropy
and estate planning, which allows you to make a significant contribution to the Nashville Symphony
while also enjoying income and tax benefits for you and your family.
Great orchestras, like all great cultural institutions throughout history, are gifts to posterity; they
are built and bestowed to succeeding generations by visionary philanthropists.
To find out more about planned giving opportunities, please contact Holly Noble, Special
Campaigns Coordinator, at 615.687.6529 or hnoble@nashvillesymphony.org.
Nashville Symphony Legacy Society
The Legacy Society honors those patrons who have included the Symphony in their estate planning.
anonymous
Barbara B. & Michael w. Barton
Julie & Frank Boehm
Mr. & Mrs. dennis c Bottorff
charles w. cagle
donna & steven clark
Mrs. Barbara J. conder
Mr. & Mrs. roy covert
william M. & Mildred p.* duncan
deborah Faye duncan
annette & irwin* eskind
dr. priscilla partridge de Garcia
& dr. pedro e. Garcia

Wine is
the star
of the show.
Perfectly ripe grapes are cast
for their future role by the
winemaker. Crushed, then
fermented, the grapes become what
they were meant to be – fine wine that's
ready to perform in a glass near you.
Old Natchez Country Club is a beautiful
venue for many social occasions such as:
* Wedding Receptions
* Rehearsal Dinners
* Bridesmaid Luncheons * Holiday Parties
* Fundraising Gala’s
* Corporate and Charitable Golf Outings
Our central location in Williamson County along
with the beauty of the setting and first class
service make Old Natchez Country Club
the ideal venue for your special event.

Since the flood, we’ve been on a temporary stage.
The show must go on. Our expert staff can
direct you to fine wines and spirits that
will receive a standing ovation
NASHVILLE WINE & SPIRITS
from your palate.
4550 Harding Rd
in the Belle Meade Plaza (next to Kroger)
For sales and special offers,
Mon-Thurs 8:30 am-9 pm
please check our website:
Fri-Sat 8:30 am-10 pm
nashvillewineandspirits.com
615.292.2676

join us for a legendary dining experience
Valet daily & discounted parking at the Pinnacle.

nashville • 100 broadway • +1-615-742-9900 • hardrock.com

GuestInformation

tpAc Facility Information
ticket SaleS
For information about nashville
symphony events, please contact the
symphony box office at 615.687.6400 or
nashvillesymphony.org.
late SeatiNG
as a courtesy to the performers and other
audience members, each performance
will have designated breaks when
latecomers are seated. those arriving after
a performance begins will be asked to
remain outside the entrance door nearest
their ticketed seats until the appropriate
break.
claSSical coNverSatioNS
offered prior to each suntrust Classical
series concert, these informal half-hour
talks with our conductors and guest artists
explore the evening’s program. talks will
take place in the concert hall beginning at
6 p.m. thursday and at 7 p.m. Friday and
saturday.
caN’t Make a coNcert?
if you are unable to use your tickets,
you may exchange them for another
performance, availability permitting, or
you may donate them for a tax deduction.
tickets must be exchanged or donated by
6 p.m. on the day before the performance.
some restrictions may apply. Call
615.687.6401.
ShuttleS
For $10 cash per person, round-trip shuttle
service, provided by anchor trailways &
tours, is available for suntrust Classical
series and bank of america pops series
concerts. First come, first served. the
shuttles leave from belle meade plaza and
the Factory at Franklin. For more info, call
615.687.6541.

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coNcerNS or coMpliMeNtS?
e-mail patronservices@tpac.org
acceSSiBility ServiceS at tpaC include parking;
elevators; wheelchair seating; use of a tpaC wheelchair; designated restrooms; and services for hearing
and visually impaired patrons. infrared assisted listening devices are available at no charge at the
entrance to each theater. tpaC offers signing for
hearing-impaired patrons, and audio description
and braille programs for blind and visually impaired
patrons on the sunday matinee in the hCa/tristar
broadway at tpaC series. the third saturday matinees
of tennessee repertory theatre plays also are
signed. large-print programs are available for shows
in the broadway, tpaC presents and Family Field trip
series. special accessibility requests and concerns,
excluding assisted listening headsets, should be
discussed in advance with the tpaC house manager
at 615.782.4087. reservations for a tpaC wheelchair
should be made on the day of performance.
reStrooMS for andrew Jackson hall are located
one level down from the sixth avenue entrance; in
the halls behind the seats in the tier and balcony;
and downstairs in the back of the orchestra level.
restrooms for polk theater are located down the
stairs to the left of the entrance to the orchestra
level and on the balcony level.
all cellular phoNeS, paGerS, Watch alarMS,
caMeraS, recorderS aNd other electroNic
deviceS should be turned off prior to the
performance or checked in with the floor manager
or an usher, who will note the seating location of
physicians and others who expect emergency calls.
call “loSt aNd FouNd” at 615.782.4098 to report
an item that may have been left at tpaC.
iN caSe oF aN eMerGeNcy, the number to leave
with others is 615.782.4000 (along with performance
attending, theater and seat location).
SMokiNG is permitted outside of the building.

FacilityInformation

tpacâ&#x20AC;&#x2122;S aNdreW JackSoN hall has continental seating. this means the aisles are only located
at the far right and far left; there is no center aisle. rows e and p of the tier are easy access rows.
there are no steps to enter these rows once you exit the elevator on the tier or balcony levels.
balcony overlaps tier to row h. tier overlaps to orchestra row t. loges attach to front of balcony
on either side and extend beside tier to row J of orchestra.

November

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FacilityInformation

War Memorial Auditorium
coNcerNS or coMpliMeNtS? e-Mail patroNServiceS@tpac.orG
acceSSiBility ServiceS include parking, which is available on both sides of sixth avenue between
deaderick street and Charlotte avenue. the accessible entrance to War memorial auditorium is
located near the Vietnam Veterans memorial at the southeast corner of the building. use the ramp on
union street between sixth and seventh avenues leading to War memorial plaza. From the top of this
ramp, turn left into the courtyard (do not continue up the second incline). the accessible entrance is
near the corner of the building and is clearly labeled. the hall inside the building leads to elevators
with access to the orchestra level of the auditorium. accessible seating is available on the orchestra
level of the auditorium.
please call the house manager at the tennessee performing arts Center at 615.782.4087 to discuss
accessibility needs, including assistance from the street into War memorial auditorium.
valet parkiNG for concerts at War memorial auditorium is available at the corner of sixth avenue
and deaderick street, underneath the marquee at the entrance to the tennessee performing arts
Center. restrooms are located one floor down from the orchestra level of War memorial auditorium,
accessible by elevator or stairs located to the left from the main entrance.
all cellular phoNeS,
paGerS, Watch alarMS,
caMeraS, recorderS
aNd other electroNic
deviceS should be
turned off prior to the
performance or checked
in with the floor manager
or an usher, who will note
the seating location of
physicians and others who
expect emergency calls.
call â&#x20AC;&#x153;loSt aNd FouNdâ&#x20AC;?
at 615.782.4098 to report
an item that may have
been left at War memorial
auditorium.
SMokiNG is permitted
outside of the building.

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FacilityInformation

lipscomb university
colliNS aluMNi auditoriuM: Collins alumni auditorium has been the center of campus life at
lipscomb university for more than half a century. since the auditorium opened in september 1947,
theatrical productions, concerts, lectures, worship and more have come to life on its stage. emergency
exits are located at the back of the auditorium through the ruth morris Collins lobby. restrooms are
located in the lobby and below the lobby on the lower level of the building.
alleN areNa: allen arena is a hub of campus activity. located on the south end of campus, allen
arena is home to a wide variety of events. it is the home of convocation and chapel programs, bison
and lady bison basketball games and lady bison volleyball games. it has also housed concerts, lectures,
dinners, trade shows and other events. emergency exits are located on the gold and purple levels of the
arena at all four corners. this past summer, the grand ole opry came to allen arena for several special
performances. the opry was temporarily displaced due to the historic flooding that hit nashville in may.

2
3

4
1

Parking is available in any lot on lipscombâ&#x20AC;&#x2122;s campus,
as long as there is not a reserved sign on the space,
or patrons may park in either of the two marked
parking garages.

1
2
3
4

collins Alumni Auditorium
Entrance for East Garage
Allen Arena
Entrance for West Garage

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SymphonyPlanner

Celebrate the holidays
with the Nashville Symphony
MARTINA MCBRIDE: HOME FOR THE
HOLIDAYS, December 10 at Lipscomb
University’s Allen Arena
Fifth Third Bank Special Event
Country star Martina McBride joins Resident
Conductor Albert-George Schram and the orchestra
for a concert celebrating the holiday season. This
evening of joyful music and treasured favorites will be
the perfect opportunity to get in the holiday spirit.
HANDEL’S ‘MESSIAH,’ December 16-18
at War Memorial Auditorium
No holiday season would be complete without
performances of Handel’s brilliant oratorio Messiah.
Come hear this work in the picturesque setting of
War Memorial Auditorium — where the Nashville
Symphony and Chorus first performed it nearly 50
years ago. More than a celebration of familiar religious
themes, this masterpiece gives expression to a whole
range of thoughts and emotions through some of the
most breathtaking music ever written.

Martina McBride

A FLICKER OF LIGHT ON A WINTER’S NIGHT,
December 18 at Lipscomb University’s
Collins Alumni Auditorium
The Ann & Monroe Carell Family Trust
Pied Piper Series
Associate Conductor Kelly Corcoran and the
orchestra team up with Canadian troupe Platypus
Theatre for this family-friendly concert, which will
explore our best-loved holiday traditions, from
kelly corcoran
Christmas trees to dreidels. Through the magic of
music, a mysterious stranger will help three disgruntled children discover the meaning of the
holidays. Come early and enjoy the festive pre-concert activities!
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